Mark Parfitt 'Anyday Now'

Posted by Andrew on the 9th of December, 2011

Anyday Now by Mark Parfitt at Galerie Dusseldorf

Check out Mark's documentation images on his website here.
This show is also still on until December 18th.

"Coming from a simple desire to make an ordinary life more celebratory, Parfitt journals his investigations of growing barley, developing great abs, and finding the overland route across the promised land of Australia. Using drawing, diagrams and photography combined as some kind of misguided scrapbooking, Parfitt elevates the humble visual diary to unforeseeable art-form.

Anyday Now is an account of living a good life, learning through experience and preparing for any trial in the face of a mundane life."

Mark Parfitt, 'Field' 2011, courtesy Mark Parfitt and Galerie Dusseldorf (Photograph by Adrian Lambe)


Posted by Gemma on the 6th of December, 2011

Installation progress for Wilderness Years: Ben Kovacsy with his hand-made Tasmanian oak and cedar canoe plus the edge of Nathan Barnett's DIY plastic net. By 'DIY plastic' I mean that he made the plastic, as well as the net.


Posted by Gemma on the 1st of December, 2011

Considering today is the first day of summer, I'm behind the times posting about something in a magazine's Spring edition, but this article is keeping itself on my mind, so I thought it'd be worth sharing.

Last week I finally got around to reading the outgoing edition of Ampersand Magazine: Spring's From the Heart of the Forest to the edge of the Road. loosely themed around potent middle of nowheres. Amongst the issue's pocket sized pages is a piece by media arts lawyer Julian Hewitt on Perth.

Written with the clean palette of a returning expat and approached here from the perspective of an insider, Hewitt's picture of Perth is so accurate it hurts, a bit. It has the elegant bemusement and incisiveness of Joan Didion reporting on the idiosyncrasies of California, something Hewitt must know, because he quotes her. For this reason I'm also slightly jealous of it because it preempts something I was also trying to write connecting Didion's California dreaming (portentous weather, true crime, pioneering hangovers, landscape angst) to Perth, because it would work: something like her geomancy, her shrewd sense of articulating place could be easily transplanted and really valuable here. He even uses the quote I have written down and circled and underlined:

"California is a place in which a boom mentality and a sense of Chekhovian loss meet in uneasy suspension; in which the mind is troubled by some buried but ineradicable suspicion that things better work here, because here, beneath the immense bleached sky,is where we run out of continent." ("Notes from a Native Daughter," Slouching Towards Bethlehem)

Does that feel familiar to anyone else?

It's heartening I guess, for someone who lives here, to find that someone else can identify that something strange is happening here, right now, and that the particular history and character of this place, despite often being portrayed as sluggish and dull is in fact alive with colour and melancholy and weirdness and that it is in fact able to support analysis and poetry, that it's worth the time and attention. At last, someone else has noted the surplus of society columns in the 'press', the historical forgetfulness indicated by the city's tendency to eradicate its heritage architecture, the unforgiving sprawl of the suburbs, the hang up of Perth on being known 'worldwide' in 1962 as the City of Lights and has thought about what that might mean. It's also a valuable text as it provides a neatly balanced counter-action to the often polarized portrayals of Perth from its residents: the bitter vitriol or the blind, stubborn enthusiasm.

Hewitt also reminded me that Honolulu is in fact the most isolated capital city in the world, so we'll have to get over that one soon.

I'm not sure what I'm trying to say about it, actually, other than it's well worth reading - as is Ampersand itself, which dubs itself as a 'Curiosity' magazine and has a varied and enthusiastic approach to culture. You can buy it in Perth from PICA in Northbridge, from Oxford Street Books in Leederville, from the Planet empire in Mount Lawley and Crow Books in Victoria Park, or online from Ampersand's website.

Issue 5 will arrive for summer, sometime soon.

Sneak Peak

Posted by Andrew on the 25th of November, 2011

Wilderness Years.

Production Still Image courtesy Jacob Ogden Smith and Ben Kovacsy


Posted by Jamie on the 25th of November, 2011

The Origin of the Oktachoron.

(clarification: that rotating 4th dimensional bubblecube is an 'octachoron' - the derivative for our obscure domain name, which seemed like a really good idea at the time considering there are a few other things called 'OK something'. We're also just big fans of Finn the Human.)


Posted by Andrew on the 25th of November, 2011

Pilot by Clare Peake at The Museum of Natural Mystery

Get there at 6PM.

268 Charles St (entrance on View St)
North Perth
Western Australia, 6006

"Clare Peake's work connotes a landscape that is neither wholly real nor strictly imaginary, the maps are the keys to themselves.

In Pilot, Peake presents a concise array of sculptures and drawings that track a basic form as it oscillates and evolves to make a diagram of itself."

Image courtesy of Clare Peake

Friday 2nd December: Seria Ludo at the Galleria

Posted by Andrew on the 22nd of November, 2011

Seria Ludo, an exhibition by David Egan and Reece York at the Galleria
December 2nd at 6PM
55 Wittenoom St,
East Perth WA 6004

Facebook group right here.

Thursday 12-9pm
Friday-Saturday 12-6pm
And by Appointment

Galleria presents Seria Ludo (Serious matters in a playful vein), an exhibition about neo-classicism, the vantage of the dilletante and backyard archaeology by David Egan and Reece York.

The third instalment on Galleria's developing exhibition calendar, Seria Ludo is an in-house exhibition, which includes both individual and collaborative works that range in from from oil paintings to a purpose built sandbox. These new works are consequence of an ongoing conversation between Egan and York in a shared studio space above the gallery. The artists position Wikipedia as oracle as they explore obvious and unlikely connections between subject matters relating to the perpetuation of traditions in art.

The Society of the Dilettanti were a group of wealthy Englishmen who formed in 1734 after taking an alcohol fuelled art tour through Italy. They sort to elevate their less fortunate, un-cultured English brethren by sharing the majesty of renaissance painting and sculpture by funding exhibitions and building collections. Essentially a rich boys-club, The Society combined revelry and witty irreverence with the serious study of antiquity. Applying this methodology to contemporary culture, Egan and York present works that oscillate smoothly between irony and sincerity in an inevitably unsuccessful pursuit of the miraculous.

Now on at Venn

Posted by Andrew on the 18th of November, 2011

Wyalkatchem by Alan Jones at Venn Gallery

'Self-portrait 1980', Alan Jones, 2011, oil on canvas, 183 x 152 cm


Posted by Jamie on the 17th of November, 2011

'twitter zuckerburg social media hotmail
please come see Ryan Trecartin ANY OTHER
at PS1 excite web log information super
highway modem kardashian'

A live installment of ART THOUGHTZ from your boy Hennessey at the Museum of Contemorary Art in Chicago on maintaining relevance for art instutitions.


Posted by Gemma on the 14th of November, 2011

I'm sometimes convinced I barely know my own city.

Back in August I wrote about the Central Tafe residency program, and how I'd forgotten about it. This time I'm addressing something great that I think everybody knew about except me.

'REmida WA Creative Reuse Centre' operates from an old squash court between Prospect Place and Newcastle Street in West Perth. REmida is a one-stop stockpile of useful discards from retail/semi-industrial businesses, offering unlimited access to materials for schools and individuals for a reasonable yearly fee.

Stock is arranged according to size, and varies depending on recent donations, but it stands to reason that there will be something useful available even for individuals with strange and specific requirements: leather, paper, steel, misc. Anyone wishing to acquire surfaces or structure whilst bypassing expensive and monopolising suppliers could do so. Anyone in charge of a highschool art department full of kids wishing to build junk-mosaic cyborgs could find everything they needed to make those dreams come true. Anyone who makes the kind of work that involves putting a lot of the same thing together would be in heaven. There is also cheap coffee and a lounge and a workshop, where things can be cut on polite request.

Sometimes I think that contemporary creative production might just be the considered process of either moving things from one place to another or placing one thing next to another. REmida can assist this process at a reduced cost and a reduced guilt rate on both ends of supply and demand.

All necessary information - joining, volunteering and supplying - is available here

'Big Room'
'Small Room'